Flamenco Metronome Graf-Martinez

Por Sevillanas

Por Bulerías

Por Fandangos

Por Tangos

The Flamenco-clock (reloj flamenco) has been used for a long time to help explain the idea of compás, which is the rhythmical cycle of a certain number of beats and accent patterns that underlies the forms of Flamenco.

Seeing the compás presented as a Flamenco-clock helps to reveal more clearly the shared relationship between the main styles of flamenco : Soleá, Alegrías, Bulerías, Siguiriyas, Fandango de Huelva. All of these styles are based on the same 12 beat cycle (Compás), but each style has a different way of counting the compás, which is quite correct and meaningful. The most important thing to know is, from what number to start to count the twelve beats. The main options are starting on beat 1 or 8 or 12.

This means, that when you use the Flamenco-clock you do not change the accents during the twelve-beat cycle, but you change from where you start to count the cycle.

The use of the metronome not only explains the theory of the different rhythms, but is designed as a practical tool to a help musicians and dancers to practice and gain control of the flamenco compás, while playing difficult falsetas or training complicated dance routines.

To work really effectively with the Flamenco metronome you should study the following examples and different ways of counting.

Start counting on "1"
Soleá and derivations (Caña, Polo, Policaña, Soleá por Bulerías) Alegrías and derivations (Cantiñas, Mirabrás, Romeras, Caracoles) .

Start counting on "12"
Bulerías (Jaleo). (Bulerías falsetas are often played only in the mode of 2/4 or 3/4). Bulerías, Guajiras, Peteneras und Fandangos de Huelva (Estribillo)* don't really have anything stylistically in common except they all start counting at "12".

Start counting on "8"
Siguiriyas and her related styles (Cabales, Livianas, Serranas, Martinete) start at "8".

For all styles in the 3/4 beat, that don´t change the accents, like Sevillanas, Verdiales, Jaberas, Fandanguillos (Copla)*, Rondeña - but not the "Rondeña toque" (libre) - you may use the mode of "3".

For other styles in the 4/4 or the 2/4 beat, for example the Tangos (and related styles like Tientos, Tanguillos, - also Farruca), Garrotin, Taranto; as well as all those styles influenced by the music of South America, which are called "Estilos de ida y vuelta" (Rumba, Colombianas, Milonga) you may use the mode of "4" or "2", which is equivalent to using a usual (normal) metronome.

* Fandangos de Huelva: Count in 3 or 6 beat mode. In the Estribillo it's better to use the 12 mode. Many use the following foot steps:
12 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 or
12 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11